Cinema Shot Video Newsroom
Full Frame ZEISS Supreme Primes cover an image area up to 46.3 mm diagonal. They are incredibly small, lightweight and fast. The focus barrel has a unique, advanced square helical thread that is as smooth as cams and even more rugged. There are 13 lenses planned so far.
ZEISS Supreme Primes have a user-interchangeable lens mount system. Like the CP.2, CP.3 and CZ.2 lenses, it is quite simple to swap mounts in the field. The mount can be exchanged by the user, rental house, DP or the camera assistant. Initially, the Supreme Primes will come with PL lens mounts. ARRI’s new LPL mount and Canon EF mount will also be supported.
The lens mounts will communicate Cooke /i, and ZEISS Xtended Data to the camera. A new concept is that the EF mount can com- municate with the camera. It essentially translates the /i data into EF data. So you will be able to see aperture and focus settings in an EF-equipped camera’s view nder. Delivery and Price Delivery of the Supreme Primes begins in June with the initial core set of 5 focal lengths: from 25, 29, 35, 50, 85—all T1.5. e 100 mm will arrive in December 2018. The 65 mm should deliver in spring of 2019, followed by the 21 mm in summer, and the 135 and 150 mm later that year. The 15, 18 and 200 mm will be released in 2020.
Panasonic EVA-1 Camera technical specs now include a pixel count of 5720 H x 3016 V (17.25 million), Dual Native ISO ratings of 800 and 2,500, and 14-stops of dynamic range. “The EVA1’s 5.7K Super-35 sensor has almost twice as many photosites as 4K,” noted Mitch Gross, PMEC Cinema Product Manager. “That means the 4K videos recorded in the camera will be crystal clear with rich color information. The EVA1 also inherits the unique Dual Native ISO sensor technology from our Cinema VariCam line, allowing it to shoot in bright sunlight or night exteriors without compromising the image quality. And the 14 stops of Dynamic Range capture a huge scope of exposure detail.” The newly-designed EVA1 sensor is Super-35 sized (24.60mm x 12.97mm) with 5.7K resolution. With an active resolution of 5720 x 3016, the EVA1 delivers more than 17.25 million photosites, nearly double the 8.8 million for 4K DCI (4096 x 2160). By starting at a higher native resolution, the 5.7K sensor yields a higher resolving image when down-sampled to 4K, UHD, 2K, or even 720p. Additionally, the increased color information results in a finer, more accurate finished image.
A key feature of the VariCam cameras, Dual Native ISO utilizes a process that allows the sensor to be read in a fundamentally different way, extracting more information without degrading the image. This results in a camera that can switch from a standard sensitivity to a high sensitivity with almost no increase in noise or other artifacts. Dual Native ISO has allowed cinematogra- phers a greater variety of artistic choices as well as the ability to use less light on set, saving time and money. The EVA1’s Dual Native ISOs are 800 and 2,500, which will allow cinematographers to shoot in almost any lighting environment. The EVA1 delivers 14-stops of Dynamic Range, enabling fine gradation in exposure from bright to dark. The ability to capture accurate colors and rich skin tones is a must for any filmmaker. The EVA1 features full V-Log/V-Gamut capture to best utilize high dynamic range and broad colors. V- Log has log curve characteristics that is HDR ready and V-Gamut delivers a color space that will cover BT.2020. More
FCC Notice Requirement
As you probably know, the 600 MHz band has been auctioned by the FCC and this will affect the use of less microphone products in certain frequency ranges. Specifically blocks 24, 25 and 26, and Lectrosonics wideband C1 range will be affected by these changes.
At the moment, it is still legal to sell transmitters on these blocks and bands, and it is legal to make them for the US market. However, the FCC is now requiring certain information to be displayed on product packaging and at the point of sale, either in store locations or on web site where these products are listed.
This particular wireless microphone device operates in portions of the 617-652 MHz or 663-698 MHz frequencies. Beginning in 2017, these frequencies are being transitioned by the Federal Communications Commission (FCC) to the 600 MHz service to meet increasing demand for wireless broadband services. Users of this device must cease operating on these frequencies no later than July 13, 2020. In addition, users of this device may be required to cease operations earlier than that date if their operations could cause harmful interference to a 600 MHz service licensee’s wireless operations on these frequencies. For more information, visit the FCC’s wireless microphone website at http://www.fcc.gov/wireless-microphones-guide or call the FCC at 1-888-CALL-FCC (TTY: 1-888-TELL-FCC).
Canon EOS C200 Camera
The EOS C200 Digital Cinema Camera is a "ready-to-go" production camera that comes with a built-in electronic viewfinder and an array of accessories including a 4-inch touch screen LCD monitor, a versatile handle and ergonomic handgrip. The camera can record internal 4K RAW to a CFast™ 2.0 card in our new Cinema RAW Light format without compromising detail, as well as 4K UHD and Full HD in MP4 format to SD cards. The 8.85 Megapixel Super 35mm CMOS sensor, 13 stops of dynamic range, Dual Pixel CMOS AF, full compatibility with Canon EF-mount lenses, and HDR capability help make the EOS C200 ideal for film, documentary and television production, corporate and event videography, and newsgathering. The camera's multitude of features helps deliver outstanding image quality, performance and versatility. MORE
Canon COMPACT-SERVO 70–200mm T4.4 EF Lens
This new Canon COMPACT-SERVO 70–200mm T4.4 EF lens – the newest member to the 4K Super 35mm Lens Category – is compact and lightweight helping to ensure outstanding mobility. Acknowledging the need to control zoom, focus and iris, Canon has developed this zoom lens with full integrated servo control. The COMPACT-SERVO 70-200mm lens offers professional video functionality at an affordable price, making it ideal for a wide range of professional video recording environments including documentary cinema, news gathering, wedding and other video productions.
The second in a new class of Canon lenses, the COMPACT-SERVO 70-200mm Telephoto Zoom Lens is a cinema-style lens that includes a servo drive unit as a standard feature. Additionally, the lens incorporates Image Stabilization, Autofocus, and Auto Iris functionality*, three extremely useful features not commonly found in cinema lenses, but are popular in EF lenses. The lens also provides high image quality that supports 4K image productions and was designed to be utilized in a variety of shooting styles including, hand-held, shoulder mounted, and tripod mounted. MORE
ZEISS Lightweight Zoom LWZ.3 21-100 mm/T2.9-3.9 T
Being a filmmaker, every single shooting day awaits you with its individual, unforeseen challenges. Even if you plan your shoot carefully, unexpected moments are sometimes just what you need. It’s your ambition to capture our world’s unique, unreproducible moments. What could be more important to you than a powerful toolset?
The focal length range between 21 and 100 mm supplies you with a wide scope of choosing the perfect angle and the ability of capturing a unique moment any second, without the time-consuming procedure of changing lenses.
Your shots will stand out with pin-sharp structures, vibrant colors and high contrast. Nicely shaped out-of-focus lights, a lovely bokeh and focus roll-off produce the desired cinematic look and feel of a scene. The shift of focus while zooming in and out, especially common with still photography zoom lenses, is no issue with the ZEISS LWZ.3. MORE
The PL 20-120mm Cabrio XK (XK6x20) features an exclusive detachable servo drive unit, making it suitable for use as a standard PL lens or as an ENG-Style lens. The XK6x20 also features flange focal distance adjustment, macro function, and is LDS (Lens Data System) and /i metadata compatible. With a 20-120mm focal range, weight of only 2.9kg including servo motors, a T Stop of T3.5 end to end, The Cabrio XK is sure to become the "go to" lens.
Videographers used to shooting video in a typical ENG-style will be very comfortable with the servo. Cinematographers will also be right at home with this lens. With the detachable drive removed, the lens is set to accept industry standard cine motors and matte boxes. Plus, the lens has all the lens data output that appeals to a Cine-style shooter. LDS and /i metadata compatibility is very useful when you want to record the position information of zoom, iris and focus for computer animation and other uses.
The digital servo on the 20-120mm Cabrio XK has 16-bit encoding, so operators can be assured that all lens data output is extremely accurate.
The 20-120mm covers S35 sensor size (Super 35 Film Format - 24.84 x 13.97mm) PL 20 – 120mm on a digital cinema style camera. While sensors on standard broadcast cameras are all the same size, sensors on digital cine cameras vary greatly. This new zoom ensures the image captured will cover large sensors for optimal, full-frame resolution. A nine-blade iris part of the design as well, creating the most natural-looking imagery possible.
Barrel markings are luminous for visibility in dark shooting situations. Distances are listed in feet or meters and can be changed in the field. The 20-120mm can be controlled using cinema industry standard wireless controllers, as well as existing Fujinon wired and wireless units. Whether you are from a film background or a video one, the Premier PL 20-120mm offers uncompromising quality and unprecedented flexibility.
For more information on the Cabrio, visit Fujinon Cabrio
The COMPACT-SERVO 18-80mm T4.4 EF-mount lens combines the benefits of compact size and light weight (only 2.7 lbs.) for outstanding mobility. Designed to shoot video, this lens can be ideal for the cinematographer moving up from our EF lenses, combining the functionality of our EF lenses with the video shooting features of our Cinema lenses.
Acknowledging the need to control zoom, focus and iris/aperture, Canon has developed this zoom lens with full external servo control for drama, documentary and other video productions. The servo drive unit is compatible with industry-standard lens controllers including Canon's standard broadcast lens controllers (ZSD-300D/FPD-400D). The optional ZSG-C10 grip designed exclusively for this lens adds additional flexibility for the ENG style "run-and-gun" video shooter.
Canon's first Cinema style lens that incorporates both an Image Stabilization function and Auto Focus function, the lens is also fully 4K-ready, with a high optical resolution and support for Super35mm large-format cameras. A 9-blade aperture diaphragm helps ensure an artistic and beautiful representation of out-of-focus areas (or "Bokeh"). The lens also features a 4.4x zoom magnification, a focal length range of 18mm to 80mm, and a 180° smooth rotating focus ring.
Overall, the video features and functionality of the COMPACT-SERVO 18-80mm T4.4 EF-mount lens make it an ideal choice for a wide range of professional video shooting environments.
For more information on Canon's new lens, visit Canon Compact Servo
Panasonic has extended its cinema line up with the addition of the VariCam LT, a lightweight, compact camera, offering many of the features of the 4K VariCam 35.
The camera retains the ability to shoot in both 4K (4096 x 2160) and UHD (3840 x 2160) and features high sensitivity, low noise, wide dynamic range and a cinematic depth of field.
In order to maintain the VariCam ‘look', the VariCam LT is equipped with a 35mm single-chip MOS sensor, originally developed for the VariCam 35 and has a same wide dynamic range. This ensures accurate image rendering over the entire image, from dark areas to highlights.
This sensor has two native ISO settings of 800 and 5000. Having two dedicated analog circuits means much higher sensitivity without increased noise.
In addition the VariCam LT offers the ability to change the mount from an EF mount*1 (standard) to a PL mount (optional), increasing the range of usable lenses.
The ‘V-Gamut' in the VariCam LT gives the camera a wider color gamut than traditional film. The ‘V-Log' gamma curve has evolved further to extend the dynamic range to 14+ stops.
Capable of 60fps in 4K, the camera also has a new sensor center crop mode, allowing 240fps for slow motion in both HD and 2K. It is also cost efficient in both operation and workflow due to in-camera color grading, AVC-Ultra codec and multiple recording formats (4K/UHD/2K/HD proxy).
The VariCam LT supports both Panasonic and third party viewfinders and comes with a number of optional extras including shoulder mount, grip and PL mount. The camera is available from March 2016.
For more information on Panasonic's range of Broadcast and ProAV products, please visit:
*1: Panasonic does not guarantee the compatibility or performance of all EF lenses.For more details, to be updated on the Panasonic website.
Announcing the new ARRI ALEXA Mini
ARRI announces the new ALEXA Mini, a versatile additional tool in the ARRI ALEXA camera range that combines a compact and lightweight form factor with the same unparalleled image quality that has made the ALEXA system a gold standard for the industry. Designed for specialized shot-making, the ALEXA Mini perfectly complements a full ALEXA shooting kit and allows crews to eliminate the complications of working with third-party cameras by keeping everything within a single system that is trusted all over the world.
To maintain ARRI's famously rugged build quality in a small and lightweight camera, a number of unique design solutions have been incorporated. These include highly integrated and environmentally sealed electronics, a lightweight carbon housing and a solid titanium PL mount that connects directly with the new internal sensor mount to ensure a super-stable flange focal distance, even when using large lenses. Nimble in use and hardy on set, the ALEXA Mini is a go-anywhere tool, easy to transport in backpacks or as carry-on luggage.
The ALEXA Mini can be operated in a number of ways: by wireless remote control, as a normal camera with the ARRI MVF-1 multi viewfinder attached, or with an on-board monitor and controlled via the user button interface on the camera body. Light enough to be comfortably held at arm's length in a hand rig, its compact size and extremely quiet operation also make it ideal for tight shooting conditions. The symmetrical design permits filming in any orientation, including upside-down and in portrait mode, while multiple accessory points enable highly creative mounting solutions. In addition, the ALEXA Mini's interchangeable lens mount can be replaced with any of those designed for the ARRI AMIRA, allowing the use of B4 video and EF mount stills lenses.
Equipped with a 4:3 sensor, automatic de-squeeze mode for anamorphic productions and frame rates of 0.75-200 fps, the ALEXA Mini records ProRes or uncompressed ARRIRAW either in-camera to CFast 2.0 cards or to a specially-designed external Codex recorder that can record image streams from up to four ALEXA Minis simultaneously -- a compelling option for multi-camera setups such as 360° plate shots. Images from the ALEXA Mini will perfectly match those from all other ALEXA cameras, making the final grade easier and quicker.
Integrated functionality is at the heart of the ALEXA Mini's efficient and self-contained design. A built-in lens motor controller allows new active lens motors to be connected directly to the titanium PL mount, while ARRI Lens Data System (LDS) technology provides frame-accurate metadata that can save time and money both on-set and in post. Wi-Fi connectivity means that iOS or Android devices can be used to remotely control camera functions such as the motorized internal ND filters, which permit rapid responses to changing light conditions without adding bulk to the camera configuration.
The body design is optimized for use with new-generation brushless gimbals, multicopters and other specialized rigs. It is compact enough in the lens direction to allow the use of standard PL mount lenses even on lightweight and space-constrained rigs, such as gyro-stabilized aerial systems. The camera's superb low-light performance makes it perfect for underwater work; dedicated underwater housings are currently being developed by leading manufacturers.
Like the ARRI AMIRA, the ALEXA Mini can record 4K UHD ProRes images, facilitating real-time 4K UHD output and simple pipelines for high-resolution deliverables. More importantly, the Mini and all other ARRI cameras with the ALEV III sensor offer unrivalled overall image quality by focusing not just on spatial resolution, but also on other parameters such as colorimetry, skin tones and High Dynamic Range (HDR). This is equally true whether the chosen output is HD, 2K, 4K UHD or one of the native resolution outputs like uncompressed ARRIRAW 2.8K or ProRes 3.2K, ensuring that images captured with the ALEXA Mini are future-proof, whatever new industry standards emerge.